Impending the query of ways male novelists understand their woman characters, this number of inventive but analytic literary essays unwinds the complexities of male authorship as opposed to narration. Mark Axelrod seems to be at quite a lot of male authors together with Fydor Dostoevsky, D.H. Lawrence, Carlos Fuentes, and the theories of Jacques Lacan.

Just how do male novelists understand their woman characters? Are there refined or now not so sophisticated symptoms within the narrative that replicate the perceptions of the writer instead of the narrator? And are a few of these perceptions pre-conceived in line with sure cultural biases? those are many of the questions that Notions of the female: Literary Essays from Dostoevsky to Lacan addresses. With that during brain, the essays examines these notions in such texts as: Dostoevsky's, Crime & Punishment; Tolstoy's, Anna Karenina; Lawrence's girls in Love and The Virgin and the Gypsy; Fuentes', The previous Gringo; Boll's, The misplaced Honor of Katharina Blum; and with an extra essay in accordance with Lacan's inspiration of The Gaze that's germane to the opposite texts.--Page four cover. Read more...

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drawing close the query of the way male novelists understand their lady characters, this number of inventive but analytic literary essays unwinds the complexities of male authorship as opposed to narration. Mark Axelrod seems to be at a variety of male authors together with Fydor Dostoevsky, D.H. Lawrence, Carlos Fuentes, and the theories of Jacques Lacan.Read more...

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Extra resources for Notions of the feminine : literary essays from Dostoyevsky to Lacan

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For Gudrun and Gerald there is no marriage, no bonding. Gudrun rejects marriage outright and Gerald can only submit to an institutionalized version of marriage without the contingencies of fidelity. In that sense, there can be no integration, only disintegration. 0005 42 Notions of the Feminine Their relationship is founded upon violence and power, a will to power. ” True enough. Gudrun always fights from a position of strength, not weakness. He capitulates to her when he sneaks into her house and “sleeps” with her.

She asks if it’s Ursula who’s in her room, but, no, it’s Gerald who says, “[I]t’s me,” and she is clearly taken by surprise. Third, he trespasses Gudrun’s bed. “He had found his way to the bed, and his outstretched hand touched her warm breast blindly. She shrank away” (335). Fourth, he trespasses her body. Gudrun looks at him and his “strange and luminous” face. Lawrence writes, “He was inevitable as a supernatural being. When she had seen him, she knew. She knew there something fatal in the situation, and she must accept it.

Hermione clearly resents him, but her reasons are somewhat suspect: evil obstruction. Somehow, “his presence was destroying her” (98). Ultimately, the only satisfaction she can have here is in “voluptuous consummation,” a “consummation of voluptuous ecstasy,” “a perfect unutterable consummation” which can only be attained by killing him. Lawrence constantly speaks of a consummation, but what kind of consummation? The consummation is clearly unilateral since it is her consummation about which Lawrence writes.